Arrow Video has been releasing a number of Japanese films
over the past few years and that’s something to be commended for. Far too many
companies ignore current product from other countries let alone the past films
made in those countries. Because of that many are lost to not just collectors
but the world in general. Thankfully their efforts have prevented that on a
number of films.
BLOODY SPEAR AT MOUNT FUJI is a road picture in essence. A
disparate group of travelers are on the same road traveling together towards
Edo for different reasons. The focal point of the group is Sakawa Kojūrō, a
samurai traveling with his servants Genpachi, his spear carrier and Genta. The
rest of the group is made up of a singer and her daughter, a father taking his
daughter to be sold as a prostitute to pay off his debts, a pilgrim, a
policeman and a man the officer has his eye on, searching for a thief in the
area.
The group no connection with one another save for this
journey they are making. Each has their own story to tell revealed in both
their actions and things that take place along the way. For Kojūrō he is taking
a special bowl to Mount Fuji as an offering. Along his journey he must deal
with the fact that he has a problem when he drinks sake, changing from the calm
demeanored man he is most of the time into a violent lout. This comes into play
during their journey. Genta has his own issues with drinking to deal with and
is the weaker of the two servants. Genpachi is the most stalwart, determined to
serve his master with honor.
Along their journey the group picks up an orphan boy named
Jirō who wants to become a samurai one day and pleads with Genpachi to teach
him to be a spear carrier. The servant takes him under his wing and continues
on their journey.
Various events take place on their travels including the
group being forced to wait on noblemen who insists on having a tea ceremony on
the side of the road closing down all traffic to do so. This is one of many
incidents that cause Kojūrō to question the behavior of his class, those in his
social sphere. Another involves the capture of the thief on the lose by his
servant that results in his getting recognition for the achievement in spite of
his protestations that it was Genpachi who was responsible.
The film mixes styles going from serious drama to light
comedy in the blink of an eye. It melds these story methods together to offer a
compelling story with a message that will remain with viewers even after the
end of the film. These different styles work well as each is seen and the
combination of them works in every incident seen on film.
The film may not work for everyone as many people seem bound
and determined not to expose themselves to anything but movies made in their
own country. An intolerance for subtitles has left many people with fewer
options of films to watch and that’s their loss. The same holds true for young
people who often will avoid anything made prior to their being born feeling it
has nothing to offer, even more so should the film be shot in, heaven forbid,
black and white. These two self-imposed restrictions leave many to sustain the
belief that only they exist in the world when it comes to movies. It’s great
loss on their part and they’re not even aware.
Extras for the film are limited but that should be expected
for a movie made in 1955. Included are a brand new audio commentary track by
Japanese cinema expert Jasper Sharp, an interview with
director Tomu Uchida’s son (Uchida is the director of the
film), an interview with Kazunori Kishida, who was a publicist for home studio
Toei, French film critic Fabrice Arduini speaking on Uchida’s work, a
reversible sleeve featuring original artwork and newly commissioned artwork by
Corey Brickley and for the first pressing only an illustrated collector’s
booklet featuring new writing on the film by critic and filmmaker James Oliver.
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